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period a while back, but have since gone a bit out of fashion. They might wellreturn at some stage in the future. More recently, too, there have even beendemonstrationsofbiofeedbackdevicesthattapplayers’brainwavepatternsandallow them to manipulate colours and objects in virtual play spaces byconcentratingattentionon,or“thinkingabout”them(Figure8).Figure8:ScreenShotfromapromotionalwebsiteforanexperimentalBrainWaveUserInterfaceSystemBut if we return to the more general issue of defining and describing gamegenres, we can see that in the specific case of FPS games, their semanticdescriptoralsomakesreferencetothequitespecificpositioningofthein‐gameplayer‐weapon avatar in relation to ‘its’ player who is normally positionedimmediatelyinfrontofthegameconsolescreen.Duringplay,theweapon‐avatarappears‘glued’toafixedmedianpositionattheverybottomofthescreen,andnever really moves from there (though it does sometimes disappear when notneeded). The rest of the in‐game possible world is then in movement towardsthe avatar and ‘around’ it, which is what creates an impression of a forwardmovement of the player‐avatar hybrid through the game world during play.
WhenusingFPSgameconsolesplayersintheirturnareoften‘glued’toafairlycircumscribed position in the holistic actual world gamespace immediately infrontofthescreen,leavingthemlittlepossibilityoffreemovementiftheyaretosucceedindealingwiththestressfuldemandsofthegame(Figure9)Figure9:ResidentEvilPlayer(BolognaCineteca:VideogameArchive)In this context the console screen acts as a transitional visual interface thatfacilitatestheentanglementofwhatisgoingoninthepossibleworldofthegamewith the embodied enactive experience of the player in the actual world. Thisblending of actuality and possibility in lived experience is of course also whathappens during fruition of literary or cinematographic works. The differenceshere are fundamentally ergodic, since enactive engagement in different worktypesisnecessaryifplayers,readersandcinemagoersaretomakethemostoftheir enactive experiences of each specific media type and their respectivematerialplatforms.Seen from an enactive experiential perspective – with a focus on players’embodiedexperiencesofimmersioninaholisiticludicenvironment–gameplay
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Page 19: 2 SemioticadeiVideogiochi,2004,Unic

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